This book proposes an aesthetic, historical and subjective reflection on the performative and visual work of Sylvia Palacios Whitman, addressing the elusive and phantasmatic quality of her operations and devices staged. It is from documents, files and records that she is generating a look at her artistic work, always aware of the «fear that the images of the body escape the body». Thus, this book seeks to give an account of her works, inhabiting a space between doubt and historicist research, putting in value the work of a Chilean artist who has developed most of her work since New York in the seventies, generating a fluctuating and contingent look at those most radical gestures within a context of change and avant-garde.